An alchemical laboratory in an imaginary future, where we could transmute the blood into gold, it this what wild capitalism is wanting our blood for? Gold labyrinths don’t go anywhere, trophies melt themselves, and everything seems to vanish in this world where we want to protect our mountains, our water is worth more than gold. Where’s the exit from this devouring creation? Direct action, poetic terrorism, ecologic militancy?
HD video / 03:01 min
“Con Fusion” shows Lofoten, Norway from three points of view; Google Maps’ Street View function, based on 360 degrees photographies taken from the top of a car, Google Earth’s animations of the earth based on satellite imagery, and the artists own video footage from travelling in the area. The three different visual inputs are shifting rapidly according to the beat, inspired by the “flicker films” of the1970s, in an attempt to connect or merge the physical experience from her travels there with the more objective data perception of the place. The sonar sound, used in technology to navigate or measure landscape, works as a reminder of the physical distance between the place we are looking at onscreen, to the signal sent into outer space and back again.
HD video / 02:58 min
The texts that are read by actors in the films are thoughts and feelings about limited time and energy. How much can you take in? What do you prioritize when you explore, for example, a digital forest? Do you compare your human mind with the mind of a computer? Do you push your mind too far, forgetting that you cannot yet upgrade your ”hardware” to handle an increased flow of data? What happens to your sense of self and your relationships in the midst of this increased flow?
two HD videos
“film 1” 07:39 min x “film 2” 07:07 min
‘In my work, I often observe and witness the moment and things and I construct/sketch them in my abstract geometric language. Symbiotic Life Forms looks at the area where structures come into contact with water with a blue line resembling the light of planktons formed at night on the sea surface. Aquatic Toxic Forms are about a yellow slotted and poisonous sponge, which I also saw in the sea. Ruin for the Future is based on a broken and abandoned pier by the sea.’
Digital Images x 4
marine biologists believe the beluga whales do not like to be touched by artificial materials.
‘I developed this work at deep listening workshop I led at the Thames River. With the aid of hydrophones, we listened to the water. This was when the lost beluga had made its way to Thames and I was wondering what if we listened to what Benny heard of us from below.
The resulting sound is quite fascinating with pulses of the city joined by miscellaneous
HD video 13:58 min